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Milton  Bradley  Corapany 
The  Viay  of  the  Clay 


THE  LIBRARY 

OF 

THE  UNIVERSITY 

OF  CALIFORNIA 

LOS  ANGELES 


STATE  NORMAL  SCHCX)L 

LOS  AIJGEUEa  CAlJl-ORNiA 


Other  Works  on  Clay  Modeling 


CLAY  m()1)i:ling  in  the  school  room 

By  Ellen  Stevens  Hildreth.  Boards.  Price  vSO.25.  A 
manual  of  instruction  in  Clay  Modeling  for  the  kinder- 
garten and  school,  based  on  the  curved  solids.  An 
exhaustive  and  complete  work. 

WHA  r  AXD  HOW 

By  H.  O.  Palen  and  Anna  W.  Henderson.  Cloth.  Price 
S2.00.  Cha]jter  HI  of  this  book  offers  a  short  text  on 
Clay  Modeling,  \vith  plates  of  excellent  models. 

PARADISE  OF  CHILDHOOD 

By  Euwaku  VVieue.  Cloth.  Price  v$2.00.  "The  Twentieth 
Gift"  in  this  book  treats  extensively  of  Clay  Modeling, 
willi  illustrations. 


MILTON  BRADLEY  COMPANY 

publishers 
SPRINGFIELD,  MASSACHUSETTS 

Boston    New  York    Philadelphia    Atlanta    San  Francisco 


»    »    J 


.  J  J  J 


THE 
WAY  OF  THE  CLAY 


^-7^  ^  y 


A  BRIEF  OUTLINE  COURSE 

IN  CLAY  MODELING 

WITH  ILLUSTRATED  DESIGNS 


19KS 


Milton    Bradley    Company 

SPRLXGFIICI.IJ,  MASSACHUSETTS 
Boston    New  York    Philadelphia    Atlanta    San  Francisco 


9  » 


•      •    •  •  ,      •        . 

.  .  •  •    ••  •  " 


CorVRIGHT,    1909,   BY 

MILTOX   BRADLEY  COMPANY 
Springfifm),  ATa^-^achusetts 


THE  WAY  OF  THE  CLAY 


THE  WAY   OF   THE  CLAY 

THE   VALUE   OF   IT 

"Representing,  imitating,  creating  or  transforming  in 
general,  is  the  ehild's  greatest  enjoyment.  Bread-crumbs  are 
modeled  by  him  into  balls,  or  objects  of  more  complicated 
form,  and  even  when  biting  bits  from  his  cookie,  it  is  the 
child's  desire  to  produce  form.  If  a  piece  of  wax,  putty  or 
other  jiliable  matter  falls  into  his  hands,  it  is  kneaded  until 
it  assumes  a  form  of,  which  the>-  may  assert  that  it  represents 
a  baby, — the  dog  Roamer,  or  what  not !  Wet  sand,  they 
press  into  their  little  cooking  utensils,  when  playing  'house- 
keeping,' and  pass  off  the  forms  as  puddings,  tarts,  etc.;  in 
one  word,  most  children  are  bom  sculptors." — Paradise  of 
Childhood. 

Alodcling  with  clay  has  long  been  one  of  the  most  delightful 
occupations  in  the  kindergarten  and  primary  curriculum.  i\side 
from  the  pleasure  which  the  child  derives  from  such  work,  the 
educational  value  of  clay  modeling  is  generally  recognized  in  its 
excellent  finger  training,  its  stimultis  to  acctirate  observation 
and  its  unconscious  development  of  the  artistic  sense.  It  assists 
the  child  to  com.prehend  trtie  ideas  of  form  and  enables  him  to 

express  those  ideas  in  material  things. 
These  are  features  which  every  teacher 
appreciates,  and  which  are  more  appar- 
ent in  clay  modeling  than  in  any  (jther 
occupation  or  form  of  hand  work. 
Modeling,  ftirthermore. awakens  ingenu- 
ity in  ihe  teacher  and  allows  of  an 
almost  tmlimited  range  of  originality. 


It  is  nf)t  the  purpose  of  this  work  to  outline  a  complete  or 
specific  course  in  modeling,  but  rather  to  suggest  a  few  funda- 
mental ideas  and  illustrate  basic  models  which  the  teacher  may. 
vary  or  enlarge  u]3()n  according  to  conditions  and  the  material 
at  hand;  and  to  express  these  suggestions  by  illustrations  and 
explanatory  notes  rather  than  by  a  lengthy  text.  The  method 
of  modeling  is  so  obvious  that  an  attempt  to  describe  it  in 
detail  usuall\'  results  in  confusing  the  novice  and  offering 
nothing  new  to  the  experienced  modeler. 

First,  assist  the  class  to  reproduce  as  nearly  as  possible  the 
models  illustrated,  and  then  supplement  them  with  other  designs 
which  are  based  on  the  same  forms.  By  devoting  tw^o  periods 
to  each  of  the  six  successive  lessons,  and  then  working  out 
original  designs  on  the  same  plan,  the  course  here  suggested 
may  be  made  to  extend  over  a  term's  work  in  clay  modeling. 


THE  MATERIAL 

In  years  past  the  only  material  used  for  modeling  in  schools 
has  been  a  clay  in  powdered  or  brick  form,  which  is  mixed  with 
water  and  set  aside  until  it  becomes  of  the  desired  consistency 
to  mold  readily.  While  this  clay,  when  properly  mixed  and 
cared  for,  will  produce  excellent  results,  and  really  makes  but 
little  trouble,  the  opinion  prevailing  among  a  large  number  of 
teachers  that  it  is  mussy  and  troublesome  has  prejudiced  many 
against  its  use,  and  consequently  there  are  many  schools  where 
"working  in  clay"  is  unknown.  To  overcome  all  such  objections 
to  this  valuable  art  is  the  mission  of  Bradley's  Composite  Clay, 
This  material  is  ready  for  use  when  taken  from  the  original 
box.  It  requires  no  mixing  with  water,  makes  no  muss,  and 
creates  no  dust.  It  comes  in  a  soft,  plastic  condition  and 
remains  so.  It  never  hardens,  but  is  of  the  right  consistency 
to  retain  its  shape  without  shrinking  or  drooping,  when  worked 
into  the  desired  model.  All  that  can  be  done  with  brick  or 
powdered  clay — and  more — may  be  accomplished  with  the  Com- 
posite Clay.  This  is  because  of  its  greater 
cohesiveness,  which  allows  of  curving  and 
twisting  to  an  extent  not  possible  with  ordi- 
nary clay.  Another  feature  which  will  appeal 
to  most  teachers  is  that  when  the  lesson  is 
over  the  Composite  Clay  may  be  quickly 
rolled  together  and  put  back  in  the  original 
boxes,  if  desired,  or  wrapped  in  a  piece  of 
oiled  paper  and  put  away  until  next  time. 


The  Composite  Clay  may  be  procured  in  different  colors — 
Green  Cra\-,  Terra  Cotta  and  Brown — which  gives  a  variety  to 
the  work  and  suggests  pleasing  and  artistic  combinations. 

The  illustrations  in  this  book  are  from  photographs  of 
Composite  Clay  Models,  though,  of  course,  the  forms  could 
also  be  produced  with  the  ordinary  clay. 

% 

THE  TOOLS 

The  best  modeling  tools  are  the  fingers.  The  only  other 
tools  necessary  for  ordinary  work  are  the  wooden  knives,  here 
illustrated. 


A  piece  of  brass  wire  hamm.ered  flat  and  fastened  to  a 
wooden  holder  makes  an  excellent  implement  for  fine  work. 


A  SUGGESTIVE  COURSE 


GENERAL  DIRECTIONS 

First  give  each  child  a  small  lump  of  the  clay  and  allow  him 
to  roll  and  press  it  into  different  shapes  at  will,  so  as  to  become 
familiar  with  the  plasticity  of  the  material. 

LESSON  I 

Normal  Type:     The  Sphere. 

Basic  Forms:     Snow  man.     Sugar  Bowl.     Beads. 
Additional  forms  based  on  the  Sphere.      (These  may  be 
suggested  by  the  children  or  worked  out  by  the  teacher.) 

LESSON  II 

Normal  Type:     The  Hemisphere. 
Basic  Forms:     Bowl.     Cap.     Bell. 
Additional  forms  based  on  the  Hemisphere. 

LESSON  III 
Normal  Type:     Ovoid. 

Basic  Forms:     Pear.     Mouse.     Vegetable  Dish. 
Additional  forms  based  on  the  Ovoid. 

LESSON  IV 
Normal  Type:     The  Cone. 

Basic  Forms:     Carrot.     Sea-shell.     Indian  Wigwam. 
Additional  forms  based  on  the  Cone. 

LESSON  V 
Normal  Type:     The  Cylinder. 

Basic  Forms:     Mallet.     Fire  Cracker.     Wind-mill. 
Additional  forms  based  on  the  Cylinder. 

LI-:SSON  VI 
Normal  Type:     The  Cube. 
Basic  Forms:     Ink-well.     Basket.     House. 
Additional  forms  based  on  the  Cube. 


LESSON  MODELS 


Six  Basic  Forms 
with  Typical   Objects 


Plate  I 


THE  SPHERE 
Snowman         Sugar  Bowl         Beads 


NOTE:  "In  joining  two  surfaces,  as  the  handle  to  the  cup,  prick 
lightly  the  parts  to  be  joined  with  the  clay  knife,  making  rough  surfaces, 
which  join  more  readily.  " 


Plate  1 


Plate   II 

THE  HEMISPHERE 
Bowl       Cap       Bell 


NOTE:     Contrast  in  the  cap  is  secured  by  roughening  the  alternating 
sections. 


Plate  II 


Plate  111 


THE  OVOID 
Pear        Vegetable  Dish        Mouse 


NOTE:  In  making  fruits  with  stems,  a  "pinch"  of  clay  is  set 
aside  for  the  stem.  Roll  this  between  the  thum.b  and  finger,  making 
a  slender  stem.  Then  make  a  hole  m  the  fruit  with  the  clay  knife  or 
pencil  and  insert  the  stem,  taking  care  to  work  the  miodel  at  the  base 
o:  the  stem  to  make  it  secure. 


Plate  III 


Plate  IV 


THE  CONE 
Carrot         Sea-Shell         Indian  Wigwam 


NOTE:  Make  the  wigwam  sufficiently  thick  to  stand  alone  and 
flatten  the  apex.  Stand  the  upright  pieces  on  top,  and  smooth  the  clay 
around  them.     Draw  in  seams  with  the  clay  knife  or  piece  of  wire. 


Plate  IV 


Plate  V 


THE  CYLINDER 
Firecraclier        Mallet        Windmill 


^ 


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kT 


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n^V 


Plate  \' 


Plate  VI 

THE  CUBE 

Ink-well        Basket        House 


NOTE:     The  basket  is  supported  by  pieces  of  very  thin  reed  around 
which  the  clay  is  woven. 


^-^ 


Plate  VI 


Miscellaneous  Model: 


These  models  are  mostly  the  work  of  kindergarten  training  students 
and  represent  results  which  may  be  attained  by  the  average  teacher. 


Plate  VII 


POTTERY  IN  MANY  FORMS 


Intentionally  crude,  but  representing  results  which  may  be  actually 
accomplished  by  the  children. 


Plato  VII 


Plate  VIII 


THE  HOME  OF  THE  ESKIMO 

AND 

A  BIT  OF  MASONRY 


NOTE:  By  putting  a  picture  back  of  the  models  a  realistic  effect 
is  obtained.  The  wall  is  made  of  oblong  bricks,  alternating,  light  and 
dark  brown. 


Plate  VIII 


Plate  IX 


"SOUTHERN  PACIFIC,  No.  611" 

AND 

AN  OCEAN  LINER 


Two  suggestive  bas-relief  models  for  home  work. 


■ 

1 

^1 

^on 


It 


/^ 


Plate  X 


"THE  OLD  OAKEN  BUCKET" 


NOTE:  The  uprights  supporting  the  roof  of  the  well  are  small 
sticks  plastered  with  clay.  Otherwise  this  model  is  made  entirely  of 
Composite  clay,  cut  to  form,  marked,  and  joined  by  overlapping. 


Plate  \ 


Plate  XI 

"MOUNT  TOM" 

This  bas-relief  model  will  suggest  buildings  of  local  interest  which 
the  pupils  may  combine  in  making  with  the  teacher's  aid. 


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■^wimmmmnmpmmmntmmm 


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Plate  XI 


Plate  XII 


"GRANT'S  TOMB" 

An  impressive  flat  design  modeled  by  a  kindergarten  teacher.  The 
Composite  Clay  is  well  adapted  for  work  of  line  detail  as  shown  in  this 
model. 


Plate  \1I 


.1 

i 


LOS  AJiGELSa  CALU-'OiUMlA 


This  book  is  DUE  on  the  last  date  stamped  below 


NOV  4 


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OCT  16  197^ 
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WW  3  0 
SEP  30 


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1981 


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S?Y  CAT  CALIFORl^iA 


Syracuse,    N.    Y. 
Stockton,    Calif. 


